Still trying to figure out how to properly apply various IE parameter to properly understand proper native 2000 iso esposure but this lecture gave me a lot of knowledge to start
If you are currently tearing your hair out getting "Cannot Proceed" messages every time you try and select Viewfinder in the Video menu, you need to turn OFF Auto lens Distortion Compensation in the System menu. Go to System → Lens → Distortion Comp → OFF. Also note that a lens has to be attached to the camera otherwise you will get another Cannot Proceed message. Thank you Alistair for your excellent series of videos on the FS7. Also note, if you are using an ATOMOS Shogun to record 4K in Cine iE, you will not be able to select viewfinder in the Video menu as you cannot use a monitor LUT when recording to the ATOMOS Shogun in 4K due to the fact that you have the Output Format under the Video menu set to 3840 x 2160. You can however set a REC 709 monitor LUT on the ATOMOS Shogun.
Great series very useful,I noticed that I can't turn on Monitor LUT I can only turn on SDI1 & Internal Rec, than all MLUTS are on, but I can't turn it on separately they are on only if I turning on sdi1 and internal rec. Please give me some advice Thank you.
I shot a project last week using S-Log3 in Custom Mode instead of CineEI, as I preferred to work with ISO levels instead of EI levels, as I was more comfortable with this workflow to get proper exposure. My question is, is the final ungraded footage the same for both of these settings (S-Log3 in Custom vs S-Log3 in CineEI), or will this make a difference in post?
I was asking myself the same question. I don't have an exact answer, but from what I know, the only thing that changes is how you expose as you said. So the picture should be the same.
I am a little confused here. If you are monitoring the image via the REC 709 (800) MLUT, I thought that the Zebras are no longer monitoring the underlying SLOG footage, but what is on the Viewfinder LUT and that's the REC 709. So let's say, if SLOG 2 is supposed to be properly exposed for 90% white with zebras set at 75 IRE, then you would have to adjust the zebras to 105% to compensate for the REC 709 MLUT. Is this not correct? So setting zebras is not the same that you would use for a "normal camera." You would have to compensate for the differences between what the MLUT is doing and what the SLOG really needs. For instance, under MLUT, you can choose to view the footage with an SLOG 2 or SLOG 3 MLUT, and if you did that, although I'm not sure why you would, then zebras could then be set at 75 IRE, which is what they are supposed to be set at, because you are seeing and dealing with the SLOG curve at that point and not an interpreted image. Please correct me if I'm wrong. Thank you!
So when recording in 4k/UHD you MUST choose a SLog color space? There is no way to record 4k/UHD as "what you see is what you get"? Except for maybe recording your MLUT internally...?
One more time I noticed SDI1 HDMI is yellow color and Sdi2 viewfinder is gray out and orange any idea what settings I need to change? when I'm changing SDI2 there is communicate "Cannot Proceed" thank you.
I shooted on cine ei mode and when i import files to fcpx it brighten up by itself seems like a lut applied. And this happens with only the shots taken on cine ei mode, custom mode looks ok. Plz guide. thankyou
Thanks for the tutorial.I can't seem to turn on SDI 2 MLUT without first turning on SD1 & Internal recording.SDI 2 is orange color.would you happen to know why the camera does not let me access SDI 2?
I have a client that wants me to color correct what they shot on their FS7. They're going to convert the files to ProResHQ first though. Does that lessen my ability to color grade in Adobe Premiere vs. getting the actual camera clips? The clips are just too long to send me and they really just need the settings I come up with in Premiere so they can copy them to their sequence on their end. Any other tips on color grading with Premiere and FS7 would be much appreciated.
Hi Alister I think you are best out there give us camera what we need as important information I was wondering if you could help me I have been approached by American company to shoot for them in the uk they want to shoot at 24 FPS which is NTSC ? I know shooting 24 FPS in a 50 hertz will cause Flicker Inwill be lighting taking heads and B roll footage interior my camera is is a Sony FS7 mark 2 can you help with best setting for results or suggestions to go back to client I really want to impress the client, the shoot is only in October
As usual, Alister is the best, no blabla, direct to the point with a highly appreciated knowledge. Thanks.
I have learnt more of value from Mr Chapman that 3 years at film school and years in the industry. Essential and thanks
Absolutely brilliant tutorial. So clear and easy to understand. Thank you so much
Still trying to figure out how to properly apply various IE parameter to properly understand proper native 2000 iso esposure but this lecture gave me a lot of knowledge to start
If you are currently tearing your hair out getting "Cannot Proceed" messages every time you try and select Viewfinder in the Video menu, you need to turn OFF Auto lens Distortion Compensation in the System menu. Go to System → Lens → Distortion Comp → OFF. Also note that a lens has to be attached to the camera otherwise you will get another Cannot Proceed message. Thank you Alistair for your excellent series of videos on the FS7.
Also note, if you are using an ATOMOS Shogun to record 4K in Cine iE, you will not be able to select viewfinder in the Video menu as you cannot use a monitor LUT when recording to the ATOMOS Shogun in 4K due to the fact that you have the Output Format under the Video menu set to 3840 x 2160. You can however set a REC 709 monitor LUT on the ATOMOS Shogun.
+Simon Regan Thank you!!!
I can't seem to access the "lens" option in the System menu as it is blacked out. I have a lens attached to the camera. Any idea why this is?
+Tom McNamara are you attaching a Sony E-Mount lens?
no, I had a Fujinon zoom lens. Does it need to be a Sony e-mount lens?
Yes
this guy is no joke,.... love it
Great series very useful,I noticed that I can't turn on Monitor LUT I can only turn on SDI1 & Internal Rec, than all MLUTS are on, but I can't turn it on separately they are on only if I turning on sdi1 and internal rec. Please give me some advice Thank you.
Very useful, thanks Alister and Sony!
It's unfortunate that monitor LUTs are not available when the HDMI out is set to 4K for external recording.
you can upload a lut in your recorder
@@SimoBenziane exactly. But people like to complain for no reason and makes things complicated
Thank you so much Alister. As always I learned so much.
extremely helpful, bless your soul mate
I shot a project last week using S-Log3 in Custom Mode instead of CineEI, as I preferred to work with ISO levels instead of EI levels, as I was more comfortable with this workflow to get proper exposure. My question is, is the final ungraded footage the same for both of these settings (S-Log3 in Custom vs S-Log3 in CineEI), or will this make a difference in post?
I was asking myself the same question. I don't have an exact answer, but from what I know, the only thing that changes is how you expose as you said. So the picture should be the same.
top explications, bravo
Nice video, very detailed, appreciate. Thanks
what is your zebralevel for slog 2?
Alister "The Righteous" Chapman
Thanks Alister, Thanks Sony.
Which colorspace do you you recommend for shooting on greenscreens?
Fantastic Tutorial¡¡¡ Bravo¡¡
I am a little confused here. If you are monitoring the image via the REC 709 (800) MLUT, I thought that the Zebras are no longer monitoring the underlying SLOG footage, but what is on the Viewfinder LUT and that's the REC 709. So let's say, if SLOG 2 is supposed to be properly exposed for 90% white with zebras set at 75 IRE, then you would have to adjust the zebras to 105% to compensate for the REC 709 MLUT. Is this not correct? So setting zebras is not the same that you would use for a "normal camera." You would have to compensate for the differences between what the MLUT is doing and what the SLOG really needs. For instance, under MLUT, you can choose to view the footage with an SLOG 2 or SLOG 3 MLUT, and if you did that, although I'm not sure why you would, then zebras could then be set at 75 IRE, which is what they are supposed to be set at, because you are seeing and dealing with the SLOG curve at that point and not an interpreted image. Please correct me if I'm wrong. Thank you!
Apparently zebra level are for log only. Black magic cameras do the thing, it's annoying
So when recording in 4k/UHD you MUST choose a SLog color space? There is no way to record 4k/UHD as "what you see is what you get"? Except for maybe recording your MLUT internally...?
One more time I noticed SDI1 HDMI is yellow color and Sdi2 viewfinder is gray out and orange any idea what settings I need to change? when I'm changing SDI2 there is communicate "Cannot Proceed" thank you.
hi, follow all the steps but the camera does not permit me to turn on the lut monitor from the HDMI any idea?
thanks
Extremely helpful!
very informative, a lot to learn...
merci beaucoup!
I shooted on cine ei mode and when i import files to fcpx it brighten up by itself seems like a lut applied. And this happens with only the shots taken on cine ei mode, custom mode looks ok. Plz guide. thankyou
Thanks for the tutorial.I can't seem to turn on SDI 2 MLUT without first turning on SD1 & Internal recording.SDI 2 is orange color.would you happen to know why the camera does not let me access SDI 2?
If you are outputting 4K on the HDMI then some of the LUT options are limited.
Turn OFF Auto lens Distortion Compensation in the System menu.
Thank you! Beautifully explained.
I have a client that wants me to color correct what they shot on their FS7. They're going to convert the files to ProResHQ first though. Does that lessen my ability to color grade in Adobe Premiere vs. getting the actual camera clips? The clips are just too long to send me and they really just need the settings I come up with in Premiere so they can copy them to their sequence on their end. Any other tips on color grading with Premiere and FS7 would be much appreciated.
Thank you my good sir!!!!!!!!
Thanks Alister,this is ok to FS5 ?
Hi Alister
I think you are best out there give us camera what we need as important information
I was wondering if you could help me I have been approached by American company to shoot for them in the uk they want to shoot at 24 FPS which is NTSC ? I know shooting 24 FPS in a 50 hertz will cause Flicker Inwill be lighting taking heads and B roll footage interior my camera is is a Sony FS7 mark 2 can you help with best setting for results or suggestions to go back to client I really want to impress the client, the shoot is only in October
Are monitoring LUTs available in Custom Mode too or only in CineEI mode? Thanks!
Cine EI only.
Thanks for your reply!
Going to buy you a bunch of pints when I am over the pond. thanks.
Thank you... Very much
Excellent
Very helpful
Seriously needed subtitles in Spanish.
well understandable
THANKS!